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In spite of claims of its obsolescence, analog film is still alive. It continues to exist as an inimitable artistic medium, put to use in myriad forms around the world. Nonetheless, in the context of our ever-expanding digital landscape, analog film faces new challenges that have forced it into a process of deep transformation. What steps do we need to take to guarantee that analog film will remain as a living-breathing medium? What are the alternatives to the idea of film as an obsolete, historical object?

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This definitive volume of texts by Canadian writer and media artist Mike Cartmell includes a collection of essays written across three decades that examine reading and desire. Lacan, Blanchot, Sebald and Melville lead the charge. In his later years Mike developed a unique and unusual essay style, making ample use of quotations and multiple voices, weighing in on fringe media moments with an exuberant experimentalism.

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Beneath the Tower: Moving Images from Toronto is a small sampling of experimental works made in Hollywood North, by moving image artists who pursue their own personal visions. These works offer a glimpse into the formal and personal obsessions of those living in Toronto, Ontario.

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Viernes, Octubre 14, 2016 - 19:00

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Mary Stark and David Chatton Barker, artists based in Manchester, UK, are visiting Toronto. Please join us for a night of film performance and sonic spells at the one and only CineCycle, the especially specially fantastic cinema venue in Toronto. We'll show individual and collaborative films and performance works made over the last two years, as well as fresh from the processing buckets of this year’s Independent Imaging Retreat, otherwise known as Phil Hoffman’s Film Farm.

“Philip Hoffman has long been recognized as Canada’s pre-eminent diary filmmaker. For over twenty years he has been straining history through personal fictions, using the material of his life to deconstruct the Griersonian legacy of documentary practice. As an artist working directly upon the material of film, Hoffman is keenly attuned to the shape of seeing, foregrounding the image and its creation as well as the manufacture of point of view. Hoffman’s films are deeply troubled in their remembrances; he dusts off the family archive to examine how estrangement fuels a fascination with the familiar surroundings of home. (Karyn Sandlos, Toronto Images Festival, 2001)

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Sábado, Noviembre 7, 2015 - 19:30

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After shows in Los Angeles (Echo Park), Winnipeg (WNDX Festival) and Toronto (Pleasure Dome) the 20th Anniversary Film Farm celebrations journey to the U.K., presented by Lux Moving Image of London! The Film Farm Lux 20th Show, curated and presented by Artistic Director and founder Philip Hoffman, includes early and recent films (16mm and digital) made at the Film Farm between 1994 and 2014.

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Lunes, Mayo 18, 2015 - 19:00

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For 20 years The Independent Imaging Retreat or ‘Film Farm’ has been developing a hands-on, artisanal approach to filmmaking that is far removed from the costly, hierarchical and inaccessible industrial model. Each summer it brings to Mount Forest Ontario a small group of interested filmmakers – some novices and some highly experienced – for an intensive week of shooting, hand-processing, tinting/toning, watching and editing film — most of the action taking place in and around an old barn on the Normanby Township property, in rural Ontario.

The Film Farm L.A. 20th Anniversary Show includes early and recent films (16mm and digital), and concentrates its light on those `film farmers’ who have graced the west coast scene with their exquisite, playful and committed works on celluloid.

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Domingo, Agosto 31, 2014 - 20:00

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“In the documentary film What these ashes wanted Hoffman arranges the jagged bits of life he shared with writer Marian McMahon. Her early death in 1996 provoked this essay on mortality. Hoffman’s goal: “to illuminate the conditions of her death… the mystery of her life and the reason why, at the instant of her passage, I felt peace with her leaving… a feeling I no longer hold.” Using painterly swatches of sunflowers, hand-processed film, found sound recordings, the “antiseptic fictions” of doctors and other mortal icons, Hoffman takes us on journeys to London, Helsinki and Egypt. Pondering morbidity in its many forms, Hoffman discloses an early photographic assignment involving his deceased grand-father, a failed suicide, and his own personal numerology of death centering on the number seventeen. Through these and other memories, he develops a soul-searching vocabulary of love for one whose journey continues into the beyond. ‘If you had to make up your own ritual for death, what would it be? Would it be private or shared?’ asked his partner, Marian. Hoffman’s answer is this beautiful document. (San Francisco International Festival Catalogue, 2002)